CAMILLE PISSARRO (1830-1903)
CAMILLE PISSARRO (1830-1903)
CAMILLE PISSARRO (1830-1903)
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CAMILLE PISSARRO (1830-1903)

Paysage sous bois, à l'Hermitage (Pontoise) (Woodlands at the Hermitage)

细节
CAMILLE PISSARRO (1830-1903)
Paysage sous bois, à l'Hermitage (Pontoise) (Woodlands at the Hermitage)
soft ground etching, aquatint and drypoint
1879
on Japan vergé paper
Shapiro's sixth, final state
signed in pencil
inscribed 'no 6 / Epreuve d'artiste, tiré à 50, paysage sois bois / à l'hermitage près Pontoise'
an artist's proof, the edition was fifty
Image: 8 ¾ x 10 5⁄8 in. (220 x 270 mm.)
Sheet: 10 ½ x 14 in. (268 x 355 mm.)
来源
Christie's, New York, Old Master and Modern Prints, 16 November 1982, lot 323.
Alan and Marianne Schwartz Collection, Detroit; acquired at the above sale (through Margo Pollins Schab, New York); then by descent to the present owners.
出版
Delteil 16; Shapiro 11
展览
The Detroit Institute of Arts, Master Prints of 5 Centuries: The Alan and Marianne Schwartz Collection, 1990-91, p. 176, n. 162.

荣誉呈献

Lindsay Griffith
Lindsay Griffith Head of Department

拍品专文

Camille Pissarro, like many of his fellow Impressionist peintre-graveurs, experimented with print media as well as painting in depicting the natural world. In the present work, one of his best known prints, Pissarro employed a range of techniques to convey a complex interplay of light and texture. He used spit-bite aquatint, a method where acid is applied directly to the plate, to create the dappled quality of the leaves. For the texture of the tree bark, the artist used lift-ground applied with a brush. Pissarro’s technical skill in intaglio developed as a result of his proximity to the work of Edgar Degas. During the same period that the present work was executed, the two artists frequently created their prints together, and even shared a printing studio in 1879.

Based on an painting with the same title, now in the collection of the Nelson Atkins Museum of Art, Wooded Landscape at L’Hermitage, Pontoise was intended to be published in a journal devoted to original prints, La jour et la Nuit, organized by Edgar Degas. The other works proposed for the journal were Degas's Mary Cassatt at the Louvre: The Etruscan Gallery (R. & S. 51) and Mary Cassatt's In the Opera Box (B. 22). The project was ultimately abandoned in 1880, and the journal was never published. Four states of this image were, however, exhibited at the fifth Impressionist exhibition in 1880.

更多来自 非凡印象: 艾伦和玛丽安·施瓦茨夫妇珍藏

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